Sunday, December 22, 2013

Throughout Hollywood history, there have always been dueling divas. It shouldn't be surprising that such beautiful, talented, hard-working and passionate women might be a tad competitive with one another. Whether on or off screen, many Hollywood women have ambitiously competed to grab their moment in the spotlight. One thinks of examples such as Bette Davis v. Joan Crawford or sisters Olivia de Havilland v. Joan Fontaine. After all, it has always been and continues to be a man's world in tinsel town. But I can think of an exception where a dueling diva duo is challenged by quite the opposite- how to fit in a women's world. I'm speaking of characters Daphne and Josephine in Billy Wilder's SOME LIKE IT HOT (1959).

In Billy Wilder's comedy masterpiece SOME LIKE IT HOT (1959), Joe (portrayed by Tony Curtis) and Jerry (portrayed by Jack Lemmon) are two musicians on their last dime and struggling to find that next gig when they accidentally stumble upon witnessing a mob hit from gangster Spats Colombo (portrayed by George Raft) and his henchmen. They are able to escape the mobsters' clutches by taking their next gig, train-bound for warmer climates of Florida and a paycheck. But there's an interesting caveat. This is a 'women only' band so they must dress up and impersonate as women to join the band. And so they do, out of pure desperation. Thus, Joe and Jerry become Josephine and Daphne.

The screwball fun continues the moment these cross-dressers board the train and meet the other lady musicians. Most notably, fellow gal band member Sugar Kane (portrayed by Marilyn Monroe) catches their eyes immediately. (How on earth could anyone NOT?!) Joe spends the rest of his time trying to woo Sugar Kane as Jerry (and by Jerry I mean Daphne) is being wooed by millionaire Osgood Fielding III (portrayed by Joe E. Brown). In an attempt to impress Sugar Kane, Joe pretends to be a millionaire himself- from speaking in his best Cary Grant stereotype accent to borrowing a yacht. Things are becoming... complicated:

The tension builds between Joe and Jerry and chaos amplifies when the gangsters show up at the same hotel for a convention as the two try their best to avoid revealing their true identities. In the end, it all works out for both Daphne and Josephine as it does for Jerry and Joe, not to mention Sugar Kane and Osgood... even if in a somewhat unconventional way.

What makes this film work so well is the performances and chemistry of these great actors and undoubtedly the talented writing and direction from Billy Wilder. While feuding over differences, characters Jerry and Joe (and as Daphne and Josephine) also reveal what great chemistry the actors Tony Curtis and Jack Lemmon possess. I can only imagine how fun those two actors must've had on the set. To see if their makeup and costuming is convincing as women, Curtis and Lemmon walked into a women's restroom without startled responses. Jack Lemmon and Joe E Brown learned to tango from co-star George Raft. Tony Curtis needed help in getting his voice high-pitched enough to play Josephine so they enlisted co-star Paul Frees (well-known voice talent) to dub with his voice.

Accounts of Marilyn Monroe's experience on the set suggests something more challenging- from 3 hour starting time delays to 50 takes on a scene, with lines written on cue cards hidden within the set. To be fair regarding her moody behavior, she was pregnant at the time and some publicity stills required cropping with stand-ins. But despite Marilyn's personal issues, the results are still amazing on-screen. Mitzi Gaynor was originally considered for the role of Sugar Kane but I can't imagine anyone but Marilyn Monroe playing this sweet, vulnerable and incredibly sexy role.

Considerations for the roles of Jerry and Joe were given to Bob Hope, Danny Kaye, Anthony Perkins, Frank Sinatra and Jerry Lewis. Jerry Lewis declined because he refused to dress up as a woman. This is a decision he later regretted after Jack Lemmon earned an Academy Award nomination for his cross-dressing role. Lemmon reminded him by thanking him repeatedly in the years to follow.

Despite its huge success and staying power as a comedy classic, leading men dressing in drag on-screen in 1959 had its share of some controversy. The Roman Catholic Church's Legion of Decency slapped it with a "condemned" rating. And my very own home state of Kansas banned the film entirely stating it was "too disturbing for Kansans." I guess some things never change. Even with a few obstacles, nothing could stop this pair of dueling divas as a hilarious duo that remains forever in my heart as pure comedy gold.

*This post is my contribution, via taking creative liberties, to the Dueling Divas Blogathon hosted by Lara at BACKLOTS. There are amazing bloggers who have participated in this feast of a writing topic so be sure to 'do them a solid' of exploring their posts, too! As for me, I'll finish by repeating from Billy Wilder's epitaph... "I'm a writer, but then nobody's perfect."

Saturday, December 21, 2013

From 1960 to 2001, Rankin/Bass Productions company made 66 film productions. Animated features and series for television, the Rankin/Bass productions ranged in themes from King Kong to Jackson Five but they are most famous for their Christmas specials. Originally named Videocraft International, the television production company was founded by Arthur Rankin, Jr. and Jules Bass in the early-1960s. Starting with their first series on Pinocchio, this series and many to follow were produced using "Animagic." Made famous by Art Clokey's "GUMBY" and George Pal's "PUPPETOONS," Animagic was a special stop-motion animation process. This technology utilized an articulated metal armature inside the figures was actually pioneered by the famous Ray Harryhausen in Merian C. Cooper/Ernest B. Schoedsack's KING KONG (1933), decades earlier.

Several of these stop-motion animations were produced as Christmas specials based on popular songs. Here are my favorites:

RUDOLPH THE RED-NOSED REINDEER (1964):
Based on the premise of the song itself, we are introduced the story of Rudolph via a lovable snowman, narrated by Burl Ives who is animated in his likeness. Wearing a green plaid vest, a bowler hat and sporting a Mr. French-like beard, this snowman glides across the snow with ease as he sets the stage for the early years of this uniquely-nosed reindeer. And he does so by treating us with festive song, such as "Silver and Gold."

The song "Rudolph the Red-Nosed Reindeer" was a popular Christmas-time tune ever since Gene Autry's recording in 1947. But Rudolph the character was actually created by a Montgomery Ward employee back in 1939 as part of an advertising campaign. The entire film's soundtrack was recorded in a studio in Toronto, Ontario with the singing and speaking cast being mostly Canadian. The animation was solely filmed in Japan.

The cast of sweet and quirky characters make this children's feature special. Rudolph himself is the endearing reindeer who tries to mask his unique feature due to pressures to fit in, but proves he's the admirable one through his bravery. Herbie the elf (the only elf without pointed ears and the only one with hair) stands out as the misfit that possesses no toy-making skills but rather a passion for dentistry and a sunny outlook despite not being accepted by his peers. Yukon Cornelius the lovable prospector and his friendly dog sled team are on the hunt for a peppermint mine, not silver and gold as one would assume. Even an Abominable Snowman, nicknamed "Bumbles" by Cornelius, is included the cast of fun characters. I'm convinced most my childhood photos reflect my appreciation for Bumbles' toothy grin (see comparison below). And of course the entire cast of characters on the Island of Misfit Toys find acceptance and ultimately show us that even misfits have a place in society, especially at Christmastime.

Interestingly, in the original TV launch in 1964 they reference going to the Island of Misfit Toys but there was no conclusion. So after a barrage of letters from fans worried about the fate of the misfit toys, Rankin/Bass added the ending we see today where all the toys find new homes. During first broadcast, Rudolph was released as part of the 'General Electric Fantasy Hour' on NBC and many commercials aired that featured the elves themselves pitching all the latest GE products for Christmas retail sales. You can see them here.

SANTA CLAUS IS COMING TO TOWN (1970)
When this film originally aired, I was four years old and my baby sister was just born. So I recall this one fondly as my childhood standard to watch every Christmas season with utter delight. This holiday classic enlists a celebrity again to narrate the story. None other than legendary Fred Astaire himself introduces us to Santa Claus aka Kris Kringle by answering all the questions we've always wondered about... where did he come from? .... where did he get that suit? ... where did he get that name? ... why does he give us presents in stockings? ... and so much more. Like Burl Ives as the jolly snowman in RUDOLPH THE RED-NOSED REINDEER (1964), Fred Astaire's likeness is wonderfully replicated in Animagic wonder as the singing (and yes, of course dancing) mailman S.D. Kluger who helps unravel all the riddles of the mysterious Santa mythology.

And like in RUDOLPH THE RED-NOSED REINDEER (1964), this story takes us on a journey with interesting characters. While Rudolph took a journey with Yukon Cornelius and Herbie, here we follow the adventures of Kris Kringle as he grows up and meets characters like Tanta (voiced by Joan Gardner) and the other bearded and elven Kringles who raise him. Once he becomes a man, we are introduced to Jessica (voiced by Robie Lester and whom my husband has had a 'cartoon crush' on since childhood) aka future Mrs. Claus, Burgermeister Meisterburger (voiced by Paul Frees), and the Winter Warlock (voiced by one of my favorite characters, Keenan Wynn). Santa is voiced by another classic film actor, Mickey Rooney. This film with its songs, characters and stop-motion animation is simple yet charming. It's obvious why it's remained a classic for all ages.

Special Mentions:
THE LITTLE DRUMMER BOY (1968) is another favorite for many. It tells the story of a poor orphan boy who befriends young animals yet is challenged by hatred in his heart and deals with many struggles like poverty and abandonment. But his journey ends to intersect with the birth of Jesus Christ. His gift is pure love and playing his drum for the newborn son of God. The tone is too religious for me personally. But the voice celebrities are great- Greer Garson narrates and Jose Ferrer voices the character of Ben Haramed. It was always the favorite of my mother's and my husband's, as well. The songs are memorable, especially the title song. My favorite version of "The Little Drummer Boy" song was recorded by Bing Crosby and David Bowie in 1977. You can hear it here.

THE YEAR WITHOUT A SANTA CLAUS (1974) is definitely worth adding a special mention. The premise is what happens when Santa is too sick and heart-broken to make his typical Christmas sleigh trip around the world; that is until Mrs. Claus and the North Pole gang convince him otherwise. Mickey Rooney returns as Kris Kringle and Shirley Booth lends her voice talent as her last film appearance. But my favorite segment of this film by far is Mother Nature's sparring sons, Snow Miser (voiced by Dick Shawn- you can read more about another hilarious film performance by him here) and Heat Miser. These characters are uniquely fun. Frankly I wish these two had an entire film devoted just to their musical numbers. See if you agree, by checking out their bit here.

While there are many other Rankin/Bass features you may prefer to include on your list of favorites, these are my picks from my childhood memories. A consistent theme you see in these holiday specials are the positive messages of hope, kindness and friendship. As Clarence the angel wisely gifted to his new pal George Bailey in my favorite holiday film, Frank Capra's IT'S A WONDERFUL LIFE (1946)... "no man is a failure who has friends." I couldn't agree more, Clarence.

*This tribute to my top Rankin/Bass holiday specials is my contribution to the Christmas Movie Blogathon, hosted by Family Friendly Reviews. Be sure to check out the other bloggers' contributions to their favorite Christmas-themed classics, too. Merry Christmas and a very Happy New Year!!

Wednesday, December 4, 2013

Growing up as a kid, classic comedies were a shaping influence in my life. My earliest memories of classic film derives from the comedies I watched with my family. I recall my grandmother and my uncle Patrick introducing me to comedy classics like Marx Brothers films, the Pink Panther films, Blake Edwards' THE GREAT RACE (1965), George Cukor's THE PHILADELPHIA STORY (1940) and countless screwball comedies. And whenever life hits those bumps in the road, I've always sought comfort in a small handful of films guaranteed to cheer me up so I can escape into laughter. One of my favorites on this list of chuckle-inspiring classics is Stanley Kramer's IT'S A MAD, MAD, MAD WORLD (1963).

It seems fitting to write about this hilarious classic at this particular time to honor the recent passing of IAMMMMW co-star Jonathan Winters. It's also timely with this past year's (also in April 2013) Turner Classic Movie Film Festival's debut screening of IAMMMMW for its 50th anniversary celebration, at Pacific Theater's famed Cinerama Dome. Fifty years ago the Cinerama Dome, the world's only concrete geodesic domed structure, kicked off their grand opening with this film's premiere as the world's first new 70mm single strip projected on the Cinerama curved screen, to mimic the effect of the three-strip Cinerama processed movie.

IT'S A MAD, MAD, MAD, MAD WORLD (1963) is a fast-paced, action-packed race brimming with cameos of laughter legends and a large cast of comedy greats. This cinematic roller-coaster ride of an adventure starts with a speeding car recklessly careening in between cars down the twists and turns of a California highway. [By the way, you may likely experience SPOILERS along this bumpy ride, so buckle up buttercup!] Soon, this car loses control and goes flying off the road, crashing into the rocky desert canyon below. Witnesses of nearby drivers immediately pull over and rush to the wreck below.

Legend Jimmy Durante plays the role of Smiler Grogan, the man who has been thrown from the car. The immediate ensemble of drivers that rush to aid crash-victim Grogan are: J Russell Finch (Milton Berle), Melville Crump (Sid Caesar), Ding Bell (Mickey Rooney), Benjy Benjamin (Buddy Hackett) and Lennie Pike (Jonathan Winters). Grogan proceeds to share his deepest secret in his last dying words- there are "350 G's buried under a big W in Santa Rosita park." He says that he earned every penny but it's there for the taking. Norman Fell portrays the police detective who arrives immediately on the scene after Grogan literally 'kicks the bucket.'

The group of witnesses reveals nothing to the detective of the confessed crime of buried loot moments prior. Instead, they get back into their cars and head back on the road, but shortly pull over to discuss this incredible discovery. Sid Caesar's Crump is joined by wife Monica (Edie Adams) in their vehicle. Rooney's Bell is riding along with Hackett's Benjamin. Berle's Finch has the hilarious misfortune of being joined by his wife Emeline Marcus-Finch (Dorothy Provine) and his bossy and 'in your face' mother-in-law, Mrs. Marcus (Ethel Merman) in their vehicle. [You might recognize Provine as the entertaining 'native of Burracho' singer Lily Olay in THE GREAT RACE (1965).] And delivery driver Lennie Pike (Jonathan Winters) rides solo in his truck. Even though no one can figure out what or where exactly this 'big W' is, and after several arguments of how best to divvy up the treasure; they soon realize that the best approach is not to share it at all. It's every man and woman for themselves. They dash to their vehicles, speeding away and the madcap race begins.

Meanwhile back at the police station in Santa Rosita, Capt. Culpepper (portrayed by Spencer Tracy) is convinced that these drivers, who were spotted roadside by officers conversing together, know more about the missing stolen money than they led on. He instructs patrol officers to keep tabs on the group, but at a safe distance, in hopes they'll lead them to the secretly stashed treasure. He confers with Police Chief Aloysius (William Demarest) that all his troubles will come to an end if he could only close this case after all these years and take his impending retirement with pride and a proper pension. We soon discover that his constantly critical wife Ginger (voiced by Selma Diamond) and needy daughter Billie Sue (voiced by Louise Glenn) are the true sources of all his unhappy troubles.

In desperation, each of the vehicles attempts the quickest routes to Santa Rosita before any of the other drivers beat them to the chase. The Crumps charter an ancient broken-down biplane. The Finch trio are accidentally rear-ended by Pike's truck so they separate and deceptively leave Pike behind with no transportation other than a kids' bike. The Finches are soon picked up by "Colonel" J. Algernon Hawthorne (Terry-Thomas). Pike shares his fascinating story and a promised portion of the findings to passerby Otto Meyer (Phil Silvers) in exchange for a ride to Santa Rosita. But Meyer immediately tricks Pike and leaves him and his damaged little girly bike behind on the deserted road. Like karma-come-calling, Meyer soon gets a flat tire and drives to a brand-new garage station down the roadway to repair and gas up. By now, Pike is completely fueled by rage as he awkwardly rides up to the garage station and proceeds to attack Meyer. In the chaos of the moment, Meyer convinces the garage attendants (Ray- Arnold Stang, Irwin- Marvin Kaplan) that Pike is actually a homicidal maniac escaped from an asylum and they should subdue him until police arrive. Meyer escapes. Pike then breaks free but then completely annihilates the brand-new garage station in a hilarious fight scene between Winters, Kaplan and Strang.

Meanwhile, The Finch foursome abruptly take a change of course when mom-in-law Mrs. Marcus attempts to call on her son and beach bum Sylvester (Dick Shawn) to help them out since he lives so close to their destination. And the duo of Benjamin and Bell (Hackett and Rooney) do their best to waken an excessively hungover pilot Tyler Fitzgerald (perfectly portrayed by Jim Backus) at another local airport to hasten their pace in this race. After copious coffees and showering, they coerce Fitzgerald to fly them to Santa Rosita. Unfortunately, pilot Fitzgerald wasn't quite done with his bender so he asks Benjamin to hold on to the wheel while he pours himself an old-fashioned. As fate would have it, the pilot is knocked out cold when the plane takes a sudden dive with the inexperienced Benjy at the yoke of the cockpit. Now they're forced to engage in a chaotic frenzy to land the plane themselves at Rancho Conejo, with the assistance of the tower traffic control team (Eddie Ryder, Jesse White, Paul Ford and Carl Reiner).

While the Crumps barely made their landing, they stop by Dinckler's hardware store to get digging tools. But as luck would have it, Mr. Dinckler (Edward Everett Horton) accidentally locks them in the basement. A series of crazy misfortunes ensue as they attempt to escape from their capture with everything from a forklift to dynamite to fireworks. The Finches splinter off after Russell and Colonel Hawthorne go off on their own in disagreement regarding the merits of pursuing Sylvester. Emeline Finch and mom-in-law rejoin with Pike, despite the abuse he endures from Mrs. Marcus. Sylvester doesn't pay attention to his mother's directions so he hectically drives to meet them- in the opposite direction, instead. After explosions, near-death amateur plane landings, car wrecks and fighting, all the various treasure-seekers along with Capt. Culpepper not far behind finally head towards the park in Santa Rosita.

WHEW! Are you staying with me so far?! Each sub-group appears at the Santa Rosita state park- some arrive in taxis driven by cabbies Peter Falk and Eddie 'Rochester' Anderson who catch on that there's something fishy going on. At first, each frantic treasure hunter runs around the park with picks and shovels in hand and no clue to the whereabouts of the 'big W' (although the audience has discovered by now). Emeline Finch wants no part of this from the very beginning as she sees this as an unethical pursuit, so she stays behind by the water fountain to cool herself when she looks up and makes the startling discovery of the big W. Capt. Culpepper is close by when he observes her response. Without revealing his identity, Culpepper approaches and she blurts out her amazing discovery, revealing a change of heart that perhaps she could enjoy the riches after all; to seek a life of solitude as an escape from her family. Meanwhile, everyone else has agreed it's silly not to come together as a group, just as Pike makes the discovery of the 'BIG W'!

Culpepper is on hand to finally introduce himself in timely fashion as the entire group huddles over the buried treasure, after taking turns in digging. Culpepper then tells the lot that perhaps the courts would look upon them more favorably if they turned themselves in, instead of the police bringing them in. He takes the money and gets in his car. But as the group senses something is odd with Culpepper's handling of the situation, they cumulatively pull over in the taxis (not allowed to take any other cars because they were all illegally gained) to discuss. They decide to follow Culpepper who turns out is not heading back to the police station at all. They continue pursuit as Culpepper rapidly heads south towards Mexico to escape with all the money for himself. By now, the other police have caught on to Culpepper's deception. The Chief of Police Aloysius attempts to talk Culpepper out of his newly found criminal ways via the car radio, by stating he's been in conversation with the mayor to discuss his pension. But it's too late for Culpepper to turn back now. He's gone too far into the madness of this mad, mad, mad, mad world.

The chase wraps up in a crazy madcap scene, in the backdrop of a condemned multi-story building ready for demolition. In the final scene, classic comedic justice is served up. We see all the men in a prison hospital ward in rows of beds as they're moaning and complaining from multiple injuries and broken bones in full body casts- each casting blame for their sad predicament. Culpepper admits his guilt with a heavy heart, feeling sorry for himself. The women, in prison gowns, march in to give the men a verbal thrashing. Just as mom-in-law Marcus leads the charge, she slips on a banana peel on the floor and falls in a classic comedy pratt fall- the uproarious laughter results. All the men are laughing so hard they're swinging in their elevated slings and body casts.

See what I mean? As long as this film's list of hilarious characters' is, the actual running time of this film depends upon which version you've experienced. The original cut was 210 minutes long. Then Stanley Kramer edited the premiere cut to 192 minutes long. But due to it's overwhelming popularity during it's 70mm roadshow to squeeze in an extra daily showtime, United Artists (without any direction from Kramer) cut it down to 161 minutes. But more than likely, you've seen the 35mm general release which has a running time of 154 minutes (minus overture and exit music.) Various attempts have been made over the years to restore missing content from the original 70mm and theatrical release formats to its original version. Most recently, Criterion has announced the release of a special edition 5 disc Blu-ray/DVD with restored audio and visual road-show elements from acclaimed film preservationist Robert A. Harris for January 21st, 2014! (Adding this to my holiday wish list... http://www.criterion.com/films/28579-it-s-a-mad-mad-mad-mad-world )

Stanley Kramer's original intent was to assemble as many comedy greats as possible- for a round-up tribute of the who's who in legendary comedy. Stanley Laurel was invited but declined because he kept true to his promise to never appear in film again after the death of his beloved partner, Oliver Hardy's death in 1957. Some declined outright like Bob Hope, George Burns, Red Skelton, and Judy Holliday (Holliday declined due to poor health.) And some felt offended that they were not invited at all, like Don Rickles; who openly ribbed Kramer as a result, whenever he attended one of his shows.

Filming such action-packed, physical scenes took a toll on the cast. Phil Silvers was injured twice during the gas station scene by Jonathan Winters. He also claimed near-drowning during the scene of the car in the river (he couldn't swim.) Arnold Stang suffered a broken arm right before shooting the gas station destruction scenes so they made special accommodations with his wardrobe to disguise his sling. Milton Berle claimed he suffered bruising for months after being on the opposite end of Ethel Merman's handbag in a scene. (Interestingly, Milton Berle plays Ethel Merman's son-in-law, yet in real life was only 6 months younger in age.) Spencer Tracy was already in poor health by filming (emphysema and diabetes) so Kramer ensured he only worked a total of nine days, at only a few hours a day, and with no scenes shot in the extreme dry heat of the desert. Stunt doubles were used whenever necessary.

Personally, my favorite performances come from Ethel Merman, Dick Shawn and Jim Backus. Such hilarious characters! Ethel Merman's role was originally supposed to be a father-in-law portrayed by none other than Groucho Marx. As much as I would have loved seeing Groucho in this film, Merman's brazen performances and funny lines really drive this story. Shawn's screen presence of over-the-top craziness is solid entertainment. And Jim Backus is perfectly suited as the marathon-drinking pilot. He delivers one of my favorite lines during a flying scene as pilot Fitzgerald- in a way that only Jim Backus can deliver, as he tells Benjy to take over as substitute flyboy and as he mixes himself a drink:Benjy Benjamin: "What if something happens?'Tyler Fitzgerald: "What could happen to an Old Fashioned?!"

This overly long and mad, mad, mad, mad perspective is my contribution to the CMBA Passion 101 Blogathon. Be sure to enjoy all of the other CMBA bloggers' contributions, because they are likely talented beyond compare. This is also my personal homage to my family members who lovingly introduced me IT'S A MAD, MAD, MAD, MAD WORLD (1963) and all the classic comedians that this film features, which led to my life-long love of classic comedies. They also taught me life's greatest lesson: no matter how maddening life's challenges become, it can be overcome with the gift of laughter.

Sunday, November 10, 2013

"We all respect sincerity in our friends and acquaintances, but Hollywood is willing to pay for it." ... Hattie McDaniel

Hattie McDaniel was a character actor whose presence on the silver screen is one we shall never forget. In addition to her memorable performances on screen, her impact beyond the celluloid made this actress into a cinematic legend and a true pioneer in the African-American community.

Born on June 10, 1895, in Wichita, Kansas, she was one of 13 children and the daughter of former slaves. Her parents introduced her to music and entertainment early on- her father was a Baptist preacher yet also sang and played the banjo in minstrel shows and her mother was a gospel singer. The family moved to Denver in 1901. By high school, Hattie's talents were already starting to shine in school and church; thus began her early career as a singer and a dancer. She often joined her father's minstrel act and toured with other vaudevillian troupes. In 1925, she became one of the first African-American women of radio- and the very first black female voice to sing on the radio.

In the early 30's when she moved to L.A., she was able to garner small roles on the radio through her brother, Sam and sister Etta (already working in radio/film)- which turned into bit roles as extras in films. In order to get by, she took on odd jobs in domestic work while pursuing radio and film work. But in 1934, she landed her first big break on-screen role as a maid in John Ford's JUDGE PRIEST.

From there, her roles came more frequent with a more assertive personality with each subsequent role... but always as the maid or "mammy" character. She appeared in close to a hundred roles as an actress and usually in that similar character as the maid/mammy who is loyal to her employer yet comfortable enough to express what's on her mind, even in defiance with stern mannerisms. Her outfits would often reflect the racial stereotype as the "mammy." McDaniel's performances stood out, despite as racially stereotypical and stagnant as they may be. It was her quality of her craft that made these roles memorable. These stereotypical characters led to her crowning achievement and most recognizable role, as "Mammy" in Victor Fleming's GONE WITH THE WIND (1939). Her acceptance speech in winning the Academy award for Best Supporting Actress; the very first Oscar ever won by an African-American:

"Academy of Motion Picture Arts and Sciences, fellow members of the motion picture industry and honored guests: This is one of the happiest moments of my life, and I want to thank each one of you who had a part in selecting me for one of their awards, for your kindness. It has made me feel very, very humble; and I shall always hold it as a beacon for anything that I may be able to do in the future. I sincerely hope I shall always be a credit to my race and to the motion picture industry. My heart is too full to tell you just how I feel, and may I say thank you and God bless you."

The road to earn this coveted award from the Academy, along with the rest of the gains in her life, was not an easy one traveled. Her accomplishments often came at a great price and were surrounded by controversy. As shocking as it may be to comprehend in modern society, none of the black actors were allowed to attend the premiere screening of GONE WITH THE WIND (1939) which took place in segregated Atlanta, GA. In fact, For the premiere night's cotillion ball, Martin Luther King Sr. was invited to attend as a influential minister but was being encouraged to boycott the premiere's events by fellow civil rights leaders. MLK Sr. attended anyway, along with his soon-to-be high-profile son.

During World War II, McDaniel supported American war efforts by entertaining the troops and promoting war bonds all while continuing to play these same roles. But soon the frequency of offers slowed down dramatically. Post WWII, the progress of civil rights movement had little tolerance for black actors perpetuating demeaning racial stereotypes. McDaniel, as a major symbol of that role countless times over was openly scorned by the NAACP. She disagreed. She defended herself stating that she found success; and in her own way made changes for future generations of African-Americans in Hollywood. She was also known for offering black actors to stay at her home if they couldn't find lodging while residing in LA to help build their careers. And as she famously said, "I'd rather play a maid than be one...Why should I complain about making $700 a week playing a maid? If I didn't, I'd be making $7 a week being one."

As Hollywood became more interested in a new generation of African American actors like Lena Horne and Sidney Poitier that better reflected a transition into an era of civil rights, movie roles were no longer being offered to Hattie McDaniel. She chose to return to radio instead. "The Belulah Show" was a popular starring role for her. She played a maid but with NAACP approval this time, from 1947 to 1951. The success of this show resulted in a tv version but McDaniel only played this role once on the small screen because she suffered a heart attack. Although she did recover, she soon discovered she had terminal breast cancer. She died on October 26, 1952.

While another 'first' for McDaniel was to be the first African-American to be buried at Rosedale Cemetery in Los Angeles, it was actually her wish to be buried at the Hollywood Forever Cemetery. A more than reasonable request by such an Oscar-winning pioneer in Hollywood; but she was denied due to racism AGAIN. Nearly 50 years later, a monument was finally placed in her honor at Hollywood Forever Cemetery. Carved in granite, the perfect response to her Oscar acceptance speech and loving tribute are forever immortalized... "you are a credit to your craft, to your race and to your family." Posthumously, she was also awarded 2 stars on Hollywood's Walk-Of-Fame: one for radio and one for film.

When I think of Hattie McDaniel, my earliest memory of being introduced to her was via the "Tom and Jerry" cartoons with her recurrent "mammy" role illustrated in animated form; often knee-down view only as she would holler "Thomas!" in her loud, scolding way and frequently with broom in hand. Yes, that was Hattie McDaniel too. As I grew older, I was surprised how this same person could play this similar character in SO many different films. As I watch classic films as an adult, the 'black-face' skits are INCREDIBLY uncomfortable and alarming to watch. [How ON EARTH did anyone think this was not insulting?!] But as stereotypically negative as the 'mammy' and other servile roles were for any and all African Americans to portray, it's somehow different when watching Hattie. Despite the demeaning roles and enormous challenges forced upon her, she had such integrity in her skilled performances that always shone through. She was memorable.

History proves that changing intolerance takes hard-work, time and persistence. Sadly, it's often not a quick fix. Hattie McDaniel proved that she was a trailblazer for her time. A woman of many 'firsts.' It takes a true character to be such a pioneer!

Saturday, November 9, 2013

Today we kick-off the 2nd annual WHAT A CHARACTER! Blogathon. Created by the classic-film-jonesing, blogging trio of Aurora @citizenscreen of Once Upon A Screen, Paula @Paula_Guthat of Paula's Cinema Club and myself, Kellee @Irishjayhawk66 of Outspoken & Freckled and inspired by Turner Classic Movie channel, we celebrate our favorite scene-stealing, quirky character actors. Time and time again, we find ourselves looking forward to these
supporting characters with enthusiastic anticipation of a familiar old friend. Often playing roles like the
butler, a maid, the hotel manager or the ever-loyal best friend, we
honor you!

Without further ado, here are today's lineup of talented bloggers and their character actor picks for WHAT A CHARACTER!

"Proud, gentle, kindly and altogether charming, she was indeed the ideal symbol of British dignity..." is the apt description of DAME MAY WHITTY, according the lovely Constance of SILVER SCENES BLOG...

Please enjoy reading all of these wonderfully talented and entertaining bloggers' submissions. Whenever possible, we encourage you to leave commentary too. Every writer appreciates the positive feedback! I will continue to add more bloggers' entries as they trickle in. And don't forget to continue reading ALL the amazing blogs over the next 2 days as our WHAT A CHARACTER! Blogathon progresses at ONCE UPON A SCREEN and PAULA'S CINEMA CLUB.

Wednesday, November 6, 2013

With as much excitement as Steve Martin in THE JERK (1979) with the arrival of new phone books, I enthusiastically offer you the 2013 WHAT A CHARACTER! Blogathon schedule!! Back by popular demand, the zany classic-film-loving and blogging trio of Aurora (aka @citizenscreen) of Once Upon A Screen, Paula (aka @Paula_Guthat) of Paula's Cinema Club and Kellee (aka @IrishJayhawk66) of Outspoken & Freckled (moi!) bring you the 2013 installment of WHAT A CHARACTER! Blogathon.

Inspired by the phrase from our beloved home of the classics, Turner Classic Movies (TCM). WHAT A CHARACTER! the Blogathon proved to be a tremendous hit from bloggers and readers alike from across the blogosphere and a myriad of social media channels in 2012. We're thrilled and confident to repeat those positive results this year! After all, who doesn't ADORE those quirky character actors?! On behalf of Aurora, Paula and me here’s the planned schedule for the WHAT A CHARACTER! blogathon 2013:

We will edit the above schedule as any updates come through. There's only a wee bit of time left to sign up if you'd like to join the fun. Just contact any of us to do so. Otherwise, rest those eyeballs now because there's TONS of reading this weekend to enjoy!